The Best Sound Design Video on the Internet

Use Dser to make your voice stand out over your background music. When you do this, you can cut out the mid-frequencies in your music. This

midfrequency is naturally where your voice is going to fall. This

midfrequency is naturally where your voice is going to fall. This

mid-frequency is naturally where your voice is going to fall. If your sound design feels amateur or lacks fullness, you need to layer more sounds.

>> Oh >> But specifically, you need to layer more sounds that are in different frequencies. Let's just take a whoosh.

frequencies. Let's just take a whoosh.

You can use a high whoosh and it'll work fine for some lighter movements, but if you use it for a dramatic movement, it's never going to work.

If you replace it with a lower whoosh, your results will be better, but it still isn't enough. So, what you need to do is stack multiple whooshes with different frequencies.

Stop using risers for no reason. Don't

be like those IG bros who just use the reverse bell riser to try to get someone's attention or be trendy. It's

like, bro, that's not doing We use risers to create anticipation and lead to a big reveal or moment. So, let me show you a few ways you can do this. Use

a riser and follow up with an impact.

Here we go. Here we go.

[Applause] Use a riser and follow up with silence.

Use a riser and follow up with a downer.

I like to do this when there's a fake drop and the real drop is about to come shortly after.

>> DJ Snake will perform at Super Bowl 57.

>> DJ Snake.

[Music] I let the downer run its course and play out and then I sneak in a second riser before the main drop.

>> Ladies and gentlemen, please welcome twotime Grammy nominated producer DJ Smith.

>> And you can see in this case after the second riser I follow up with a big impact DJ Smith.

This is how you use risers. None of this reverse bell for no reason. I'm not

trying to flex or anything, but I was using that in like 2019. And to see it come around and hit the algorithm like four years later is honestly just cringey in my opinion. If I just called you out, I'm sorry, but you need to hear it. I should put that on a hat like

it. I should put that on a hat like ban the reverse bell riser. Adobe

Firefly generate sound effects. This

is dope. Just type in the sound effect that you want and then sell fully the timing and rhythm of your sound effects.

[Music] Stop searching for the perfect sound effect for ages. Instead, just grab one that's close and modify it so it's perfect for what you need. Let me show you a few ways you can do this. Use

parametric equalizer.

All we're doing here is modifying different frequencies.

Use pitch shifter.

And arguably the most important is to use reverbs. Adding the correct reverb

use reverbs. Adding the correct reverb to your sounds makes it feel like it actually belongs in that space. Listen

to the sound of the crowd in this example with no reverb.

>> And here's with some reverb added.

>> Reverb can also push sounds farther into their background.

Use Mois's AI to separate your song into stems. This will give you so much creative freedom and you might even be able to slip by the YouTube copyright detector.

To transition into a song, cut the clip after the first beat, duplicate it, and reverse it. And now use that as a riser.

reverse it. And now use that as a riser.

This riser that you just made will match the exact key and pitch of your song.

You can also add a whoosh if you want.

To transition out of a song, cut the clip where you want it to end and cut again before the next beat. Delete the

back end and nest the clip. Duplicate

the clip, drag it down the timeline and disable it. Stretch out the nested

disable it. Stretch out the nested sequence and add studio reverb. I

usually start with great hall and then tweak my settings until I like it. I

just left.

>> You can also add sound effects to the last beat to make it stronger.

The fact is >> show audio time units. This is

goated. If you can't find the perfect spot for a sound effect, right click and select show audio time units. Now you'll

be able to put sounds exactly where you want them and you'll be able to achieve effects that you never could have before.

[Applause] [Music] >> Every shot and every angle needs to produce a new sound.

[Applause] low pass. This makes something sound

low pass. This makes something sound like it's coming from the other room or maybe a car. It can also be like this trippy drowned out effect where the character feels like time has slowed down.

Highpass. You can use this to make something sound like it's coming from a speaker or a radio or a phone.

Yeah. Diioetic and non-diioetic sounds.

Diioetic sounds are sounds that the characters can actually hear and non-diioetic sounds are sounds that they can't hear. But that's not important. What is important is

important. What is important is understanding how to use literal and nonliteral sounds. Movies and videos are

nonliteral sounds. Movies and videos are fake so you can use nonliteral sounds.

Everything doesn't have to be like hyper realistic. In this example, I use the

realistic. In this example, I use the sound effect of a car for the hyperlapse.

[Applause] >> If you're fading in your music, try adding reverb and low pass to your fade.

[Music] >> Use impacts to emphasize a moment.

>> Well, duh.

>> But I like to take it a step further and have the frequency of the impact match the frequency of the song or beat. A

high frequency impact is great for a snare hit, but it doesn't hit the same on a bass hit.

The sound effect of the door shattering is a high frequency to match the snare hit.

Use drones to make your scene sound mysterious.

[Music] >> The J cut and the L cut. A J cut is when you bring in the audio before the video.

You see it looks like a J. And an L cut is the opposite. This just helps you transition between shots and scenes. And

it's honestly just such an easy way to level up your project and make it feel more like a movie. Mixing. This is what you do before you go to export. This

makes sure that your audio levels are consistent because when you start layering sounds, you're going to notice that your levels start to creep up into the red. Open the audio track mixer and

the red. Open the audio track mixer and go to the last track. This is the overall mix. Add a hard limiter. I set

overall mix. Add a hard limiter. I set

the max amplitude to neg3. Now the

overall mix won't peak, but you might have some areas in the project that are too quiet, so I set the input boost to 10. This will increase the quiet parts

10. This will increase the quiet parts without affecting the upper limit that you set. But I will say for social

you set. But I will say for social media, you can have some hits or impacts hit the red. As long as it's quick, it's fine. You just can't be like living in

fine. You just can't be like living in the red, you know? But either way, like I said, I like to bring everything down to negative3. If I'm editing something

to negative3. If I'm editing something for social media or like Instagram where a majority of people are not watching with headphones, I'll actually work on most of the project without headphones.

I'll definitely throw on the headphones once or twice to make sure that nothing sounds out of the ordinary. But I've

noticed that sometimes my sound design sounds great in headphones, but it sounds like on an iPhone speaker.

So, you have to balance it out for both.

If you use Art List or Motion Array or anything like that, get the plugin for Premiere. I'm telling you, bro, this

Premiere. I'm telling you, bro, this will actually save you a ton of time.

Now, this might not actually be the best sound design video on the internet. I

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